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Tuomas Eerola the Dynamics of Musical Expectancy

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Tuomas Eerola the Dynamics of Musical Expectancy JYVÄSKYLÄ STUDIES IN HUMANITIES 9 Tuomas Eerola The Dynamics of Musical Expectancy Cross-Cultural and Statistical Approaches to Melodic Expectations Esitetään Jyväskylän yliopiston humanistisen tiedekunnan suostumuksella julkisesti tarkastettavaksi yliopiston vanhassa juhlasalissa (S212) joulukuun 5. päivänä 2003 kello 12. Academic dissertation to be publicly discussed, by permission of the the Faculty of Humanities of the University of Jyväskylä, in the Auditorium S212, on December 5, 2003 at 12 o'clock noon. UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2003 The Dynamics of Musical Expectancy Cross-Cultural and Statistical Approaches to Melodic Expectations JYVÄSKYLÄ STUDIES IN HUMANITIES 9 Tuomas Eerola The Dynamics of Musical Expectancy Cross-Cultural and Statistical Approaches to Melodic Expectations UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2003 Editors Matti Vainio Department of Music, University of Jyväskylä Pekka Olsbo, Marja-Leena Tynkkynen Publishing Unit, University Library of Jyväskylä Cover Picture: Tuomas Eerola URN:ISBN 9513916553 ISBN 951-39-1655-3 (PDF) ISBN 951-39-1602-2 (nid.) ISSN 1459-4323 Copyright © 200 3 , by University of Jyväskylä Jyväskylä University Printing House, Jyväskylä 2003 ABSTRACT Eerola, Tuomas The dynamics of musical expectancy: cross-cultural and statistical approaches to melodic expectations Jyväskylä:UniversityofJyväskylä,2003,84 p. (Jyväskylä Studies in Humanities ISSN 1459-4323; 9) ISBN 951-39-1655-3 Diss. Melodic expectancy is a field of research that provides ways to understand the processes and knowledge people use in structuring, interpreting, remembering and performing music. Expectancy encapsulates the temporal nature of music, in which pitch and temporal patterns create dynamically changing expectations for ensuing events. Central issues included evaluation of the expectation models and their dependence on data-driven and schema-driven processes, assessment of melodic complexity and similarity and the development of a dynamic approach to measuring and modelling expectancy. Cross-cultural comparisons were conducted to explore the role of data- driven and schema-driven knowledge in the formation of melodic expectations by using probe-tone experiments and predictability ratings. The musical excerpts consisted of Finnish spiritual folk hymns, North Sami yoiks, European folk melodies and African folk songs. Participant groups varied in their familiarity with the musical styles in question and consisted of Sami, Finnish, Central European and South African musicians. The contribution of data-driven musical properties towards melodic similarity and continuous predictability ratings were also investigated. The results support the view that music draws on common psychological principles of expectation, but that cultural background and stylistic knowledge shape the contribution of these principles. A range of data-driven principles of expectations explained the responses of all groups, although the responses of non-experts more closely reflected event-frequency models and Narmours implication-realization model (1990) whereas the experts responses exhibited reliance on schema-driven and style-specific models. Moreover, frequency- based melodic features accounted for a proportion of listeners© similarity ratings and a dynamic model combining data-driven and schema-driven melodic information was able to account for listeners continuous ratings of melodic predictability. Keywords: expectancy, music, cognition, cross-cultural, similarity, complexity, psychology, modelling Author´s address Tuomas Eerola Department of Music University of Jyväskylä P. O. Box 35 (M) FIN 40014 University of Jyväskylä Supervisors Professor Petri Toiviainen Department of Music University of Jyväskylä P. O. Box 35 (M) FIN 40014 University of Jyväskylä FINLAND Professor Carol Krumhansl Department of Psychology Cornell University Ithaca, NY 14850 USA Professor Jukka Louhivuori Department of Music University of Jyväskylä P. O. Box 35 (M) FIN 40014 University of Jyväskylä FINLAND Reviewers Professor Ian Cross Faculty of Music University of Cambridge 11 West Road Cambridge CB3 9DP ENGLAND Docent Mari Tervaniemi Cognitive Brain Research Unit Department of Psychology P. O. Box 9 FIN 00014 University of Helsinki FINLAND Opponent Professor Ian Cross Faculty of Music University of Cambridge 11 West Road Cambridge CB3 9DP ENGLAND PREFACE I am not the first person to wonder how “sheeps guts should hale souls out of mens bodies” (Benedick in William Shakespeares Much Ado about Nothing). I started my undergraduate studies in Jyväskylä partly seeking an answer to this mystery and was quickly drawn into cognitive musicology, one of the three specialization topics available within the musicology programme at the Department of Music. At the beginning of my graduate studies, I recognised that the issues covered by music psychology and music cognition would provide answers to questions that are relevant from the common listeners perspective, challenging from the musicians point of view, and attainable as scientific activity. During my years as a postgraduate student I was lucky to benefit from several outstanding advisors. Professor Carol Krumhansl introduced me to the world of empirical endeavours and showed that working in this field is great fun as well. Professor Petri Toiviainen©s brilliant, analytic and insightful comments encouraged, supported and guided my scientific adventures. In addition to their words, they both also set an example of broadening ones musical skills whilst pursuing an academic career. Professor Jukka Louhivuori introduced me to the wonders of the scientific world. He was essential in providing financial and mental support for my graduate studies and also prompted me in the direction of cross-cultural issues. I am grateful to the reviewers of my work, Professor Ian Cross and Docent Mari Tervaniemi, for their valuable comments on this thesis. I also wish to thank Professor Matti Vainio for having faith in me in my current position as an assistant in musicology. He also acted as an editor for the publication series in which this study was agreed to be published (Jyväskylä Studies in Humanities). Most of my work has been carried out at the Department of Music, first as a postgraduate student (1997), then as a research assistant (1998) when I was fortunate to work with Professor Carol Krumhansl, then as a graduate student (1999-2001) at the Pythagoras Graduate School of Sound and Music Research and finally as an assistant in musicology (2002-2003). I want to thank all the staff members at the Department of Music for being such terrific colleagues. To single out some of them is easier said than done but Topi Järvinen gave good comments and argued for the use of proper tools for each task. Pekka Toivanen gave me healthy reminders of the necessity to incorporate cultural context and musical practice into the research of musical cognition. Kirsti Hämäläinen provided collegial support and merriment to the daily work at the Department. There have been many others who have contributed to this work by providing good atmosphere and support. I thank Adrian North, Lorraine Sheridan and Mike Beauvois from the Leicester University, England, for their friendship, sharp observations and promoting the importance of having a life outside academia during my visit to Leicester in 1998-1999 (funded by the Finnish Academy). I am especially grateful to Adrian for showing me how to say the maximal amount with a minimum of energy. My visit to Cornell University in 2001 allowed me to broaden my knowledge of music cognition considerably, strengthened my conviction of empirical and rigorous methodology and helped me to gain new perspectives on academic life in the real world. Joel Snyder gave numerous helpful comments regarding the real-time project and not only introduced Matlab and MAX to me, but guided me patiently through my first attempts using these powerful tools. Another Cornell graduate student, Erin Hannon, provided energetic remarks on my research ideas. Edward Lebaka from Pretoria, South Africa, had a crucial role in facilitating the work in South Africa as well as providing a wealth of information on native African traditions. Annukka Hirvasvuopio-Laiti from Tampere University acted as an expert in Sami traditions and she graciously and skilfully guided our expedition to Kautokeino, Norway. Tommi Himberg helped me to carry out experiments in South Africa and proved to be a reliable collaborator with an excellent sense of humour. My colleagues at the Pythagoras Graduate School of Sound and Music Research (funded by the Finnish Ministry of Education), especially those at Jyväskylä, Jan-Markus Holm and Francis Kiernan, helped me to laugh at various nerve-wracking things that one undergoes during ones graduate school career. Also, the teachers of the graduate school posed many constructive questions and remarks without whom this thesis would have ended up being more restricted in its scope and style. Furthermore, my gratitude goes to Donald Adamson, David Underwood and Micah Bregman, who proof-read parts of the text. My biggest gratitude is without a doubt to my wonderful wife, Päivi- Sisko. She put up with my long hours at work, travels around the globe, and the anxiety of paper deadlines. She also acted as a manager for the most of our trips abroad, charmed the locals while I stayed at the laboratory after office hours, and took up the duties of editor-in-chief during the final stages of writing. Jyväskylä, 28 October, 2003 CONTENTS ABSTRACT
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